What kind of Hasselblad 'setup' for archetectural photography?

pete_mod · Mar 24, 2016

I want to buy either a 500cm or 501cm to primarily shoot architectural photos. I have a Rolleiflex 2.8e that is simply not wide enough for my style of photography (and because of this I rarely even use it), so I think a Hasselblad with a 50mm is the way to go for me. Plus the interchangeable backs would be a huge plus.

I've read about the gliding mirror in the 501, however I don't think it will be of use for me since I plan to use lenses that are 80mm and wider. Also, not sure if a prism would be of benefit. I know that I use the magnifier quite a bit on the Rolleiflex to check focus, so maybe a metered prism would the way to go since I plan to use the camera handheld.

In regards to 50mm lenses, I was going to go with the 50mm CF (non FLE unless I can find a FLE locally), or maybe the older 50mm C T*.

Anyone have any other suggestions in regards to the camera/lenses, or accessories that I should consider?

Darko Pozar · Mar 24, 2016

For minimal distortion, I've found the 60mm f3.5 most beneficial. In my opinion the 50mm lens shows some exaggeration in perspective with barrel distortion and keystone effect. However the 60mm may not be wide enough for some applications.

RalphLambrecht · Mar 24, 2016

pete_mod said:
I want to buy either a 500cm or 501cm to primarily shoot architectural photos. I have a Rolleiflex 2.8e that is simply not wide enough for my style of photography (and because of this I rarely even use it), so I think a Hasselblad with a 50mm is the way to go for me. Plus the interchangeable backs would be a huge plus.

I've read about the gliding mirror in the 501, however I don't think it will be of use for me since I plan to use lenses that are 80mm and wider. Also, not sure if a prism would be of benefit. I know that I use the magnifier quite a bit on the Rolleiflex to check focus, so maybe a metered prism would the way to go since I plan to use the camera handheld.

In regards to 50mm lenses, I was going to go with the 50mm CF (non FLE unless I can find a FLE locally), or maybe the older 50mm C T*.

Anyone have any other suggestions in regards to the camera/lenses, or accessories that I should consider?

You must also consider the Flexbody due to its movements and keep an eye out for a 40mmCF/FLE;which is a really wide lens for 6x6.

pete_mod · Mar 24, 2016

Darko Pozar said:
For minimal distortion, I've found the 60mm f3.5 most beneficial. In my opinion the 50mm lens shows some exaggeration in perspective with barrel distortion and keystone effect. However the 60mm may not be wide enough for some applications.

Thanks for the suggestion. 60mm wasn't even on my radar since I'm not completely familiar with what is available. The 60mm would be about a 37mm in 35mm format (35mm being my favorite focal length). So I will keep an eye out for. Also, minimizing distortion is important to me.

bdial · Mar 24, 2016

I would recommend a gridded screen to help make important lines square to the frame edges. A prism will also help with that since you don't need to think about which way to tilt the camera to line things up, especially if you are hand holding. The prism will give you a brighter view since it blocks ambient light. The magnification makes it more or less equivalent to composing through the WLF magnifier.

A metered prism is convenient, but a handheld meter will be a little more versatile if you need to meter specific areas or balance lighting. I do like the fact that the metered prism means less stuff to worry about, but since it's not coupled to the controls like most 35mm cameras, it's really like working with a handheld meter that happens to be attached to the camera.

The 60 is lovely, it's my favorite next my 150. I believe it's a little sharper than the 50 (I don't have a 50 to compare mine to though). They don't get much love compared to the 50 since everyone wants WIDE, so the prices are a little less.

You may also want to consider a Rollei SLR, which has bellows focusing and some lens movement (tilt I think).

Slixtiesix · Mar 24, 2016

If you want to go wider than 80mm I would recommend the 50/4 FLE or the 60CF, depending on taste. If you want to go even wider I would recommend the SWC with optional screen and if funds permit: RMfX-Finder. If you still have money to spend I would go for an Arcbody with either 45mm or 35mm or both. Don´t go for the Flexbody, it has no shift movements. However, if you want movements, a small view camera with 120 back may be cheaper...

itsdoable · Mar 24, 2016

The only other (often overlooked) reason to get a GMS is age and required service - many of the old mirrors have foam pads that have expired, and can cause the mirror alignment to be off - resulting in focus errors at wide apertures. This has not been an issue with the GMS mirrors (yet).

50mm or 60mm - really depends on your subjects, and what FOV you prefer.

One other thing to consider - Shift lens: there are a few aftermarket/conversion shift lenses available, which are primarily for architecture. But you would need a 200/2000 series body with a FP shutter. There is also 1.4x PC shift teleconverter that works with leaf shutter lenses if you want to get ride of some excess $...

k.hendrik · Mar 24, 2016

SWC with 38mm; no distortion whatsoever.

jerrybro · Mar 24, 2016

Why not rent an SWC for a weekend and try it out?

Sirius Glass · Mar 24, 2016

pete_mod said:
I want to buy either a 500cm or 501cm to primarily shoot architectural photos. I have a Rolleiflex 2.8e that is simply not wide enough for my style of photography (and because of this I rarely even use it), so I think a Hasselblad with a 50mm is the way to go for me. Plus the interchangeable backs would be a huge plus.

I've read about the gliding mirror in the 501, however I don't think it will be of use for me since I plan to use lenses that are 80mm and wider. Also, not sure if a prism would be of benefit. I know that I use the magnifier quite a bit on the Rolleiflex to check focus, so maybe a metered prism would the way to go since I plan to use the camera handheld.

In regards to 50mm lenses, I was going to go with the 50mm CF (non FLE unless I can find a FLE locally), or maybe the older 50mm C T*.

Anyone have any other suggestions in regards to the camera/lenses, or accessories that I should consider?

Darko Pozar said:
For minimal distortion, I've found the 60mm f3.5 most beneficial. In my opinion the 50mm lens shows some exaggeration in perspective with barrel distortion and keystone effect. However the 60mm may not be wide enough for some applications.

I agree that the 59mm lens can product distortions if you are not careful, but the 69mm lens is not wide enough.

k.hendrik said:
SWC with 38mm; no distortion whatsoever.

The SWC is wonderful for architectural photography especially since it is rectilinearly correct.

Alan Gales · Mar 24, 2016

pete_mod said:
Anyone have any other suggestions in regards to the camera/lenses, or accessories that I should consider?

Have you considered a cheap Cambo/Calumet or Toyo 4x5 monorail camera? You can easily pick one up for $200 US or less.

RobC · Mar 24, 2016

I can't recommend a particular lens but I can say that you should be sure that you don't shift because if you don't keep film plane vertical you're going to get some very strong converging verticals and horizontals with an swc and I suspect with 501 with 50 or 60 lenses.
i.e. if you want to keep verticals vertical then considering medium format camera with built in shift may be a good idea.
Maybe a fuji GX680 which being 6x8 gives you opportunities for very tall buildings using the camera on its side. It has shift up and down and left and right as well as tilt. Just a heads up in case you hadn't thought about it.

Jager · Mar 24, 2016

Aye, for serious architectural photography I'd think you'd want to look long and hard at the SWC. The attached picture shows how a regular 500C/M w/50 Distagon CF FLE renders a building.

wiltw · Mar 24, 2016

I cannot endorse that photo for serious architectural photography...convergence of vertical lines is apparent.

RobC raises the right concerns. I have never found medium format to be particularly cost effective for architectural work. Schneider seems to be the only Perspective Control alternative at a horrendous price when I would see them at a used camera swap meet; other than a camera like RB67/RZ67 with a shift capability, I would suggest Large Format or 135mm with a somewhat affordable Perspective Control lens...I have both. Could never afford the Schneider for my Bronica and didn't want to buy an RB/RZ

John Koehrer · Mar 24, 2016

Well, since there's already one "4X5" solution. What about a 6X9 view camera with a roll back?

Sirius Glass · Mar 24, 2016

Alan Gales said:
Have you considered a cheap Cambo/Calumet or Toyo 4x5 monorail camera? You can easily pick one up for $200 US or less.

Oh yes, and that would work real well for hand held MF photographs.

wiltw · Mar 24, 2016

Sirius Glass said:
Oh yes, and that would work real well for hand held MF photographs.

4x5 view camera, with 6x9 back = medium format with shift! it just isn't 'SLR' or 'TLR'...waitasec, it IS indeed looking through the lens with out a reflex mirror!

Theo Sulphate · Mar 24, 2016

Another vote for the SWC - which I have used for architectural photography and where interior columns at the edges of the frame needed to be perfect. The SWC does the job.

The 50 CF FLE is what I've used only for landscapes.

Also, should you choose the 500-series, a relatively inexpensive prism like the old HC-3/70 will give you 4x magnification of the entire frame.

Sirius Glass · Mar 24, 2016

pete_mod said:
I've read about the gliding mirror in the 501, however I don't think it will be of use for me since I plan to use lenses that are 80mm and wider. Also, not sure if a prism would be of benefit. I know that I use the magnifier quite a bit on the Rolleiflex to check focus, so maybe a metered prism would the way to go since I plan to use the camera handheld.

I have the 503 CX which does not have the gliding mirror. A line shows up on the top of the mirror with the 250mm, but there is no line on the film. With the 500mm lens, there is no line. Go figure.

jerrybro · Mar 25, 2016

Ya know, as much as I love my blad, the most versatile system I have is my 4x5 monorail. I leave the short rail on and it is good for everything from 90mm to 210mm. With the 90 I've been able to get interior shots and use movements to control perspective and focus. These days getting into 4x5 is cheaper than getting into a blad, but it can be a hassle and expensive if you can't handle the processing by yourself.

David Allen · Mar 25, 2016

As you wish to hand hold the camera, one possibility that is often overlooked is using a Mamiya 645 with the 50mm shift lens.

One of my students bought a body and lens for about 800€ here in Germany.

Bests,

David.
www.dsallen.de

Alan Gales · Mar 25, 2016

Sirius Glass said:
Oh yes, and that would work real well for hand held MF photographs.

The OP owns a Rolleiflex. He can keep that for handheld shots. Use the 4x5 on a tripod. Of course if he wants a Blad, there are plenty of good reasons to buy one.

RobC · Mar 26, 2016

also consider a Linhof Technorama 612 PC II which has shift. Yes, very expensive but you haven't told us what your budget is. But if you want something really special for architecture it is hand holdable, has shift, should cope with very tall city buildings etc.

I think you need to tell us what you're actually looking for from the camera and whether maintaining verticals as vertical is important to you becasue that makes big difference to what you buy since its unlikely you can position at optimum location to keep film back vertical without using shift. There would be nothing worse than getting what is a good camera but finding its not good for your specific needs. Just saying...

have you considered these things?

http://linhof.com/technorama-612pc-ii/?lang=en

it only has rise in landscape orientation and not in portrait.

A 4x5 camera with rollfilm back would likely be cheaper.

k.hendrik · Mar 27, 2016

Try this http://www.bhphotovideo.com/c/product/135405-REG/Mamiya_212_520_Tilt_Shift_Adapter_for_RZ67.html with a (there was a url link here which no longer exists)

JOR · Mar 28, 2016

I bought a 50mm F/4 Hasselblad Distagon in a Synchro-Compur for my 500C/M and found the corner resolution was surprisingly poor. A couple of camera shop techies told me that this was resolved in the later version with floating elements (and two focusing rings!). So I traded it in for a 50mm F/4 FL in a Prontor. Disappointingly, the results are not significantly better.
Like pete_mod in Oshawa I need an architectural camera for film and the Hasselblad SWC with 38mm Biogon has an excellent reputation. Examples from the 1970s are still fetching almost £1000 (1300 Euros, US$1400), which I can't afford.
So I have been looking at the Fuji GX680. The optics are said to be superb. It is a true SLR and can be hand-held. The back can be rotated to give extra headroom. It has a rising front so the 65mm standard w/a can be used with 19mm of vertical shift. Shifting with the 50mm is more limited but still impressive. If you master Herr Scheimpflug's geometry you can get sharp focus from the chewing-gum on the sidewalk to the distant skyscrapers. In one shot! Although it's not as sexy as a used 500C/M the entire used Fuji kit with three lenses costs around the same.

What kind of Hasselblad 'setup' for archetectural photography?

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